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"title": "In a Time of Economic Extremes, Shakespeare's Timon Recast as a Silicon Valley CEO",
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"content": "\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly two decades now, \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">the Cutting Ball Theater\u003c/a> in San Francisco has taken classics and set them in modern times to make relevant points. That’s the case with Shakespeare’s \u003cem>Timon of Athens.\u003c/em> (Say TIE-mon to sound smart.)\u003c/p>\n\u003cp>Timon in this version of the play is a young, wildly successful CEO who loves to throw wild parties for others like himself. But when his fortunes fail, he finds himself friendless. And because this is a work from Shakespeare, Timon is exquisitely eloquent expressing his rage and disgust.\u003c/p>\n\u003cp>“It’s a very interesting play, but one that you rarely get to see,” says Cutting Board co-founder and director Rob Melrose.\u003c/p>\n\u003cp>Now, he is the first to praise the generosity of techies like those on the theater’s board, but San Francisco is a city marked by sweeping gentrification and radical economic disparity.\u003c/p>\n\u003cp>“We have the experiences of, you know, tech billionaires right up against people living in the street right here in our own neighborhood. The vast income inequality of our city is reflected in this play of Shakespeare’s,” Melrose says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Timon of Athens\u003c/em> runs through April 29 at the Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/timon-of-athens/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50&list=RDEMLm35Se_-DS4rb606Go27tg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Vietgone\u003c/em> is Qui Nguyen’s comedy drama about Vietnamese refugees arriving in the US after the fall of Saigon. The play hilariously mocks U.S. culture, with the American characters speaking a pidgin-English loaded with words like “cheeseburger” and “yee-haw.” The Vietnamese characters, which Nguyen says are sort-of based on his refugee parents, tell their stories in rap. The rapping works beautifully sometimes, and then feels contrived and cliched at others. But at its best, \u003cem>Vietgone\u003c/em> offers real insights into the way these patriotic South Vietnamese lost everything when they fled their country, and their struggles to rebuild their lives in the U.S. \u003c/p>\n\u003cp>\u003cem>Vietgone\u003c/em> continues through April 29 at the Strand Theater in San Francisco.\u003ca href=\"http://www.act-sf.org/home/box_office/1718_season/vietgone.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13828202\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg\" alt=\"Members of the cast of 'Vietgone' at ACT's Strand Theater\" width=\"576\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Members-of-the-cast-of-Vietgone-at-ACTs-Strand-Theater-520x346.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Members of the cast of ‘Vietgone’ at ACT’s Strand Theater \u003ccite>(Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The play, \u003cem>Disruption\u003c/em>, is timed perfectly for the #MeToo moment. It’s about a female CEO who’s accused of sexually harassing a male employee at a Silicon Valley company. As my co-host Eli Wirtschafter notes, that’s still a lot rarer in real life than men harassing women. But the playwright AJ Baker told Eli that by turning the tables, she hoped to make audiences really look at our assumptions about gender and power. \u003c/p>\n\u003cp>“Does the fact that she’s a woman,” Baker said, “is that going to color your reaction? Are you harder on her? Are you easier on her? I wanted to see a woman in that situation, see how it felt.” \u003c/p>\n\u003cp>3Girls Theatre Company’s production of Disruption runs April 6 to April 28 at Z Below. \u003ca href=\"https://3girlstheatre.org/disruption-by-aj-baker/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts'",
"headTitle": "An Oakland Church Holds Family Memories in ‘Dance of the Holy Ghosts’ | KQED",
"content": "\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "An Oakland Church Holds Family Memories in 'Dance of the Holy Ghosts' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Ubuntu Theater Project last presented Marcus Gardley’s \u003cem>Dance of the Holy Ghosts\u003c/em> in 2015, when it expanded, with assistance from Gardley, from a six-person cast to an ensemble of 15 complete with a gospel chorus. Staged in the aisles of Oakland City Church, Ubuntu brought to life the story of three generations of family history, from the Deep South to the California Coast. \u003c/p>\n\u003cp>Now in a third iteration, with a 17-member ensemble and directed again by Michael Socrates Moran, Ubuntu strikes a mostly effective balance between the ghosts that haunt this sprawling family saga and the earthy humanity that grounds it.\u003c/p>\n\u003cfigure id=\"attachment_13827618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg\" alt=\"Michael Curry (Marcus) in 'Dance of the Holy Ghosts.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_355-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Curry (Marcus) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley, who grew up in West Oakland, has an artistically fruitful history of collaborating with Bay Area theatre companies, including Shotgun Players, Cutting Ball Theater, Berkeley Rep, and California Shakespeare Company. But no other West Coast company has tackled \u003cem>Dance of the Holy Ghosts\u003c/em>, Gardley’s homage to his own Oakland roots and complex family history, let alone staged it three times.\u003c/p>\n\u003cp>Additions to the script in 2015 (such as a narrator character, Woman Old As Wisdom) have been removed, though the gospel chorus, who comment on the action and take on various bit parts throughout, remains. Set in the sanctuary of another church (Oakland Peace Center, originally First Christian Church of Oakland) the audience files into the pews while the ensemble sings gospel hymns from the choir loft as the preshow, effectively setting the mood somewhere between reverence and nostalgia.\u003c/p>\n\u003cfigure id=\"attachment_13827617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg\" alt=\"Halili Knox (Viola) in 'Dance of the Holy Ghosts.' \" width=\"640\" height=\"960\" class=\"size-large wp-image-13827617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_626.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Marcus (Michael Curry), young, suited, somber, alone. He leafs through a leather-bound notebook and begins to sing a Yoruban folk tune, his voice sweet and mournful. Eventually the entire gospel ensemble joins in, arranging themselves on the various levels of the stage as tableaux. In contrast, the only character singing Oscar’s song when he enters from the back of the room is Oscar himself (Berwick Haynes), performing an out-of- character spiritual in a rich baritone, as he progresses slowly down the aisle to take his rightful place centerstage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part-time patriarch and full-time player, it’s Oscar’s memories that dominate much of the play, interspersed and intertwined with Marcus’, whose attempts to come to terms with his grandfather’s shortcomings as a family man drive his own strolls down memory lane. But before we get to the past, Marcus must find the Oscar of the present to invite him to the funeral of his only child, Marcus’ mother, Darlene (Elizabeth Jones).\u003c/p>\n\u003cp>Their first encounter is not auspicious. Oscar querulously refuses to admit his identity and acknowledge their family connection, but as soon as he runs Marcus off, he falls into a memory of him as a small boy and their then-relationship, full of boisterous posturing on his end and nerd-awkward hero-worship on Marcus’. It’s during these forays into rhythmic reminiscence that Gardley’s roots as a poet are especially evident. He’s not afraid to use ten words where another playwright might use two, flights of lyrical fancy that shoot for the rafters. This innate musicality is a hallmark of Gardley’s work, as is his fascination with stories of epic scope without tidy conclusions: raw, messy, with a touch of magical realism.\u003c/p>\n\u003cp>Gardley’s poetic turn-of-phrase is especially rich in the mouth of Haynes, who joined the cast late in the rehearsal process, but nonetheless embodies his flawed but frequently charming protagonist with empathetic sincerity. With it he woos the headstrong Viola, played with feline grace by Halili Knox (who played Woman Old As Wisdom in 2015), and lulls his daughter to sleep during a rare moment together. In Curry’s mouth the poetry is more tentative, as the character Marcus spends much of the play feeling his way towards adulthood. However, he’s given what may be the most poignant speech of the play at its end, and it’s satisfying to witness his completed transformation into the man he was perhaps always destined to become.\u003c/p>\n\u003cfigure id=\"attachment_13827616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg\" alt=\"Halili Knox (Viola) and Berwick Haynes (Oscar) in 'Dance of the Holy Ghosts.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Dance_1042-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox (Viola) and Berwick Haynes (Oscar) in ‘Dance of the Holy Ghosts.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the play fails to satisfy are in some of the more superfluous storylines, particularly those set in young Marcus’ fourth-grade Catholic school classroom, despite Halili Knox’ dual-role as the gamin-cute “new girl,” Marcus’ first crush, and the humorously ineffectual Father Michael (Anthone Jackson). As droll as many of these vignettes are, they distract from the already expansive, non-linear retelling of a history long on detail and short on pith. In all, the play runs close to the three-hour mark, with all the same discomforts and rewards as a church service of the same length might offer: hard pews, inadequate heating, a shot at transcendence.\u003c/p>\n\u003cp>For congregants who take pleasure in the rewards of opening themselves to a shared experience with fellow truth-seekers, this show offers a real opportunity to abandon oneself to the singular melody of Marcus Gardley’s ode to his childhood home. But for those who like their theater with more creature comforts and fewer tests of endurance, \u003cem>Ghosts\u003c/em> might feel less like a revelation and more like a chore.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance of the Holy Ghosts’ runs through Saturday, March 31, at Oakland Peace Center in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's 'Vietgone' Lands Somewhere Between Brilliant and Awful",
"headTitle": "ACT’s ‘Vietgone’ Lands Somewhere Between Brilliant and Awful | KQED",
"content": "\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A mix of war, motorcycles and hip-hop adds up to one of the most unbalanced plays in recent memory.",
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"title": "ACT's 'Vietgone' Lands Somewhere Between Brilliant and Awful | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hustle-a-stage-actor-who-lives-in-san-francisco-on-just-30000-a-year",
"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year",
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"headTitle": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year | KQED",
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"content": "\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "One of the most multifaceted and respected theater artists in the Bay Area, Beth Wilmurt makes it all happen on $30,000 a year. ",
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"title": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year | KQED",
"description": "One of the most multifaceted and respected theater artists in the Bay Area, Beth Wilmurt makes it all happen on $30,000 a year. ",
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"headline": "A Stage Actor Who Lives in San Francisco on Just $30,000 a Year",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most actors, joining the \u003ca href=\"http://www.actorsequity.org\" target=\"_blank\" rel=\"noopener\">Actors Equity Association\u003c/a> is a game-changer — a path to more exposure and higher wages. Union actors in the Bay Area can often make hundreds of dollars more per week onstage than their non-Equity counterparts, not to mention additional income from lucrative advertising, TV and movie work.\u003c/p>\n\u003cfigure id=\"attachment_13827348\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" class=\"size-full wp-image-13827348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Beth-stats-250_2-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Beth Wilmurt has never joined the union, despite having several opportunities to do so over a nearly three-decade career. One of the most multifaceted and respected theater artists in the Bay Area, she says she’s simply not willing to compromise creativity for compensation.\u003c/p>\n\u003cp>“I didn’t want to limit my opportunities by raising my price,” Wilmurt says. “My interests have always been much wider than the type of work typically offered to union actors in this area.”\u003c/p>\n\u003cp>As a result, on average she makes just $6,000 a year acting. With teaching and other gigs, Wilmurt makes, on average, a whopping $30,000 a year. Money is clearly not a motivating factor.\u003c/p>\n\u003ch2>‘A personal mission’\u003c/h2>\n\u003cp>Wilmurt has appeared in around 60 productions over nearly three decades. She’s a company member of Berkeley’s \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a>, where she’s appeared in many shows; her latest, \u003ca href=\"https://shotgunplayers.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Iron Shoe\u003c/em>s\u003c/a>, is opening this week. Her work spans everything from traditional stage plays by both dead and living playwrights, to underground cabaret shows in which she sings and plays ukulele, to experimental theater pieces involving acts of extreme physical daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt isn’t a trust-fund baby or trophy wife to a startup millionaire. And so appearing on stage is just one of many ways she manages to stay in the Bay Area, which she’s called home her entire life.\u003c/p>\n\u003cfigure id=\"attachment_13827340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg\" alt=\"Beth Wilmurt at home in San Francisco with her ukelele.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt at home in San Francisco with her ukelele. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she’s not rehearsing by day and/or performing by night, Wilmurt spends much of her time teaching music. She directs the \u003ca href=\"http://sfcmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Music Center\u003c/a>’s children’s and senior choruses. She teaches at \u003ca href=\"http://www.sfusd.edu/en/schools/school-information/leonard-flynn.html\" target=\"_blank\" rel=\"noopener\">Leonard R. Flynn Elementary School\u003c/a> in the Mission, and returns each summer to lead workshops at \u003ca href=\"http://www.sugarloafcamp.org/\" target=\"_blank\" rel=\"noopener\">Sugarloaf Fine Arts Camp\u003c/a> near Tahoe. Wilmurt’s also done quite a bit of babysitting to make ends meet. And she’s received several grants for her work from organizations like the \u003ca href=\"http://bellefoundation.org/\" target=\"_blank\" rel=\"noopener\">Belle Foundation\u003c/a>, \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a> and the \u003ca href=\"http://www.auroratheatre.org\">Aurora Theatre\u003c/a>.\u003c/p>\n\u003cp>“All these years, I have been very fulfilled by my teaching and my predominately local non-union acting jobs,” Wilmurt says. “My hustle had been around a personal mission, not a strategic plan for my financial future.”\u003c/p>\n\u003cfigure id=\"attachment_13826875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg\" alt=\"Beth Wilmurt in rehearsal for her new show at Shotgun Players, 'Iron Shoes'.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826875\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beth-in-iron-shoes.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt in rehearsal for her new show at Shotgun Players, ‘Iron Shoes’. \u003ccite>(Photo: Kieran Beccia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rent control, the ‘golden handcuff’\u003c/h2>\n\u003cp>Most people would agree that the odds against living in one of the world’s most expensive cities on Wilmurt’s annual income of $30,000 are considerable. There are people who spend \u003ca href=\"https://www.bizjournals.com/sanjose/news/2015/12/31/most-expensive-rental-sf-four-seasons-penthouse.html\" target=\"_blank\" rel=\"noopener\">that much money\u003c/a> on a single month’s rent in San Francisco.\u003c/p>\n\u003cp>What makes it possible in large part is the rent-controlled, one-bedroom apartment Wilmurt and her partner, theater director Mark Jackson, have occupied since 1996 in the Haight. She says the place is dilapidated and needs updating. But it runs her $500 a month. “Rent control is the golden handcuff,” Wilmurt says. “If I lost that, I’d have to leave for sure.”\u003c/p>\n\u003cfigure id=\"attachment_13827342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg\" alt=\"Beth WIlmurt's share of her rent-controlled apartment in the Haight is just $500. "Rent control is the golden handcuff," she says.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_10-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Wilmurt’s share of her rent-controlled apartment in the Haight is just $500. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performer also keeps a low overhead in other ways. “No car, no internet at home, no Netflix, no cable,” she says. “I’m on a family phone plan — I share 2GB of data with four people. I get massages at the Ashby Flea Market for $10. I look for services that offer sliding scale or trade.”\u003c/p>\n\u003cp>Wilmurt has also gone most of her life without health care, though she currently does have a plan that costs her $100 a month.\u003c/p>\n\u003cp>Wilmurt says keeping a roof over her head has become increasingly difficult over the years. “I was getting by financially and felt fine about it, but now for the first time I am feeling insecure about my financial future as I am feeling the effects of aging,” she says. “The word ‘hustle,’ which I guess is what I’ve been doing all these years, is now feeling like hustling, and needs to be a more financially-driven hustle than art-driven.”\u003c/p>\n\u003cfigure id=\"attachment_13827341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg\" alt=\"One of the ways Beth Wilmurt saves on her monthly bills? Having a flip phone instead of the latest high-ticket iPhone.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13827341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Beth_Wilmurt_8-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the ways Beth Wilmurt saves on her monthly bills: having no internet in the house and keeping a flip phone. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the challenges, Wilmurt has no plans to leave acting, teaching or, for that matter, San Francisco. She says she’s thinking of taking on private students to boost her bottom line.\u003c/p>\n\u003cp>Wilmurt loves the work she does. And she feels a powerful sense of community in the Bay Area. “I stay here for my artist friends who have hustled and continue to find a way to make thoughtful work despite the increasingly bad economic conditions for artists,” Wilmurt says. “There are a lot of people here who refuse to be stopped.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-the-air-cy-and-a-lans-do-list-picks-for-march-9-2018",
"title": "On the Air: Cy and A-lan's Do List Picks for March 9, 2018",
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"headTitle": "On the Air: Cy and A-lan’s Do List Picks for March 9, 2018 | KQED",
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"content": "\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker and A-lan Holt find the best Bay Area shows on The Do List",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and co-director for the Center for Diversity in the Arts at Stanford. To no one’s surprise, we talked about the plays we’re most excited about at Bay Area theaters. But there’s lots of music on the show too, including a new violin concerto by film score master Danny Elfman and tropical rocker Hollie Cook. Check it out.\u003c/p>\n\u003cp>\u003cstrong>March 10: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826532/the-whip-smart-folk-music-of-henry-jamison\" target=\"_blank\" rel=\"noopener\">Vermont folkie Henry Jamison’s tells eloquent love stories in song.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 16-April 7: \u003c/strong>\u003ca href=\"https://www.kqed.org/news/11650964/bay-area-artist-retrieves-missing-young-black-women\" target=\"_blank\" rel=\"noopener\">Kenyatta A. C. Hinkle’s smokey portraits work to rescue the victims of sex trafficking. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 1-24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826571/tearing-down-the-patriarchy-in-crowded-fires-revolt-she-said-revolt-again\" target=\"_blank\" rel=\"noopener\">The women in Crowded Fire Theater’s production \u003cstrong>of \u003c/strong>\u003cem>Revolt. She Said. Revolt Again.\u003c/em> tear down the patriarchy\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 9-11: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13826595/the-marsh-offers-a-theater-alternative-to-march-madness\" target=\"_blank\" rel=\"noopener\">Theater with brackets in ‘Marsh Madness ‘at The Marsh Theater.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 16-31:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/dance/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project offers the West Coast premiere of Oakland native Marcus Gardley’s memory play \u003cem>Dance of the Holy Ghosts.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 10 and 11\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13826509/danny-elfmans-genre-defying-music-at-stanford\" target=\"_blank\" rel=\"noopener\">The Stanford Symphony features the genre hopping music of Danny Elfman.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826399/luscious-tropical-pop-from-hollie-cook\" target=\"_blank\" rel=\"noopener\">The luscious “tropical pop” of singer Hollie Cook.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>March 16\u003c/strong>: \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/zurichchamberorchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra teams up with the Zurich Chamber Orchestra under Daniel Hope, music director for both ensembles. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 15: \u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/20/so-soul-san-francisco-black-art-salon-f3gh9-b8t68\" target=\"_blank\" rel=\"noopener\">Brava in the Mission continues its salon series with a discussion by choreographer Amara Tabor Smith, director Ellen Sebastian Chang, multi-media artist Alexa C. Burell (aka LEXAGON), and somatic scholar Amber McZeal \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The NCAA playoffs — also known as March Madness — are almost here, and now there’s a theater alternative called \u003cem>Marsh Madness.\u003c/em> It comes from the folks at San Francisco’s The Marsh, home to some of the Bay Area’s best solo performance. The Marsh has invited 28 theater teams, some solo, some with large casts, to compete for cash prizes and a chance for a full production on The Marsh’s main stage.\u003c/p>\n\u003cfigure id=\"attachment_13826612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826612\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-800x1203.jpg\" alt=\"Sia Amma is a contestant in 'Marsh Madness' with her play 'Uncle Sam's Children in Africa'\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sia Amma is a contestant in ‘Marsh Madness’ with her play ‘Uncle Sam’s Children in Africa’ \u003ccite>(Coutesy of Sia Amma and The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founding Artistic Director Stephanie Weisman says she knows nothing about basketball; a board member suggested the idea. But \u003cem>Marsh Madness\u003c/em> is definitely better than the NCAA playoffs. \u003c/p>\n\u003cp>“You come,” she said, “and you can spend all day looking at all these [plays], one after another, and seeing the entire world in front of you. Now do you get that in basketball? No. You get that in performance basketball.” \u003c/p>\n\u003cp>As my co-host A-lan Holt notes, it’s a great chance to see new performers and ideas on stage, perhaps something that will become a smash hit or a screaming failure. Audiences get to vote on their favorite shows, and there’s a playoff round on Sunday in which Marsh judges like Weisman will pick the winner from the top rated four performances. \u003c/p>\n\u003cp>\u003cem>Marsh Madness\u003c/em> runs March 9-11. \u003ca href=\"https://themarsh.org/marsh-madness/marsh-madness-tickets/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The NCAA playoffs — also known as March Madness — are almost here, and now there’s a theater alternative called \u003cem>Marsh Madness.\u003c/em> It comes from the folks at San Francisco’s The Marsh, home to some of the Bay Area’s best solo performance. The Marsh has invited 28 theater teams, some solo, some with large casts, to compete for cash prizes and a chance for a full production on The Marsh’s main stage.\u003c/p>\n\u003cfigure id=\"attachment_13826612\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826612\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-800x1203.jpg\" alt=\"Sia Amma is a contestant in 'Marsh Madness' with her play 'Uncle Sam's Children in Africa'\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Sia-Amma-Uncle-Sam27s-Children-in-Africa.jpg 1362w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sia Amma is a contestant in ‘Marsh Madness’ with her play ‘Uncle Sam’s Children in Africa’ \u003ccite>(Coutesy of Sia Amma and The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founding Artistic Director Stephanie Weisman says she knows nothing about basketball; a board member suggested the idea. But \u003cem>Marsh Madness\u003c/em> is definitely better than the NCAA playoffs. \u003c/p>\n\u003cp>“You come,” she said, “and you can spend all day looking at all these [plays], one after another, and seeing the entire world in front of you. Now do you get that in basketball? No. You get that in performance basketball.” \u003c/p>\n\u003cp>As my co-host A-lan Holt notes, it’s a great chance to see new performers and ideas on stage, perhaps something that will become a smash hit or a screaming failure. Audiences get to vote on their favorite shows, and there’s a playoff round on Sunday in which Marsh judges like Weisman will pick the winner from the top rated four performances. \u003c/p>\n\u003cp>\u003cem>Marsh Madness\u003c/em> runs March 9-11. \u003ca href=\"https://themarsh.org/marsh-madness/marsh-madness-tickets/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Four women and two men foment a revolution in gender relations in Alice Birch’s play \u003cem>Revolt. She Said. Revolt Again,\u003c/em> which opened this week at Crowded Fire Theater. In a series of stinging sketches, the play puts a microscope to the way we talk about love, work, and friendship between the sexes. \u003c/p>\n\u003cp>In one scene showing the aftermath of a wedding proposal, the women says, “You essentially said you want to reduce your income tax. And inherit my pension. That I am to become to become your property, your possession. A thing you own.” And when the man replies, “It doesn’t mean those things anymore,” the woman asks, “What does it mean then?” \u003c/p>\n\u003cp>With the #MeToo movement in full swing, \u003cem>Revolt. She Said. Revolt Again\u003c/em> couldn’t be more timely. Crowded Fire’s Founding Artistic Director Rebecca Novick directs the play, which is currently at the Portrero Stage in San Francisco until March 24. \u003ca href=\"http://www.crowdedfire.org/revolt-she-said-revolt-again/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "TheatreFirst's 'Between Us' Explores Complicity, Social Justice and Art",
"headTitle": "TheatreFirst’s ‘Between Us’ Explores Complicity, Social Justice and Art | KQED",
"content": "\u003cp>\u003cem>How could you have let that happen? How could you have watched? Why didn’t you intervene?\u003c/em>\u003c/p>\n\u003cp>These days, when complicity has become \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/27/566763885/complicit-is-the-word-of-the-year-in-2017-dictionary-com-says\" rel=\"noopener\" target=\"_blank\">such a potent, possibly criminal question\u003c/a> (in our government, businesses, and private lives), TheatreFirst’s two-program collection of seven one-act monologues, \u003cem>Between Us\u003c/em>, presents a group of men and women who got in the way. After witnessing the hardships they endure — psychological, familial, economic, and social — it’s hard to blame anyone who turns a blind eye and goes on their way.\u003c/p>\n\u003cp>It’s a fascinating experiment in social justice activism and art, made more so by the variety of people testifying. Two of the seven are everywoman composites, while the other five are or concern real people — renowned 19th century Voodoo priestess Marie Laveau; Philippine labor organizer Larry Itliong; a Uruguayan literature student Nibia Sabalsagaray; Aiko Herziog-Yoshinaga, an activist who uncovered crucial documents on the Japanese internment; and Major General Smedley Butler, who stymied a plot by American business interests to overthrow President Franklin Roosevelt.\u003c/p>\n\u003cfigure id=\"attachment_13826036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg\" alt=\"Voo Doo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Voodoo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As information, both programs are terrific. You get a kind of running commentary on what it means to actually take a stand, to dedicate your life to not caving in under pressure. Unfortunately, as drama, five of the seven one-acts fail to come to theatrical life. The other two, though somewhat successful, are still shaky.\u003c/p>\n\u003cp>Playwrights such as Wallace Shawn (\u003cem>The Fever\u003c/em> and \u003cem>The Designated Mourner\u003c/em>) and Adrienne Kennedy (\u003cem>The Ohio St. Murders\u003c/em>) have used the one-person lecture format to devastating ends. Yet none of the plays of \u003cem>Between Us\u003c/em> have either the formal sophistication or the political and social vision necessary to testify against the world. Noelle Viñas’ \u003cem>La Profesora\u003c/em> and Jeanne Sakata’s \u003cem>Turning the Page\u003c/em> are prime examples of how difficult it is to dramatize what is essentially information.\u003c/p>\n\u003cfigure id=\"attachment_13826039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg\" alt=\"Tachi (Virginia Blanco) lectures the audience on South American geography.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tachi (Virginia Blanco) lectures the audience on South American geography. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>La Profesora\u003c/em>, Tachi, a young teacher, is fired for a lesson she gives to her class on the Uruguayan government’s summary execution of a university student. As a fact, U.S.-backed 1970s South American death squads are a depressing commonplace. It’s hard to imagine in 2018 someone hired to bring a “South American perspective in a Literature of Human Rights class” and then fired for talking about such things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s possible, I guess, but the drama seems ginned up to give Nibia Sabalsagaray’s story greater contemporary relevance than it has. This is not to say that mining the history of cases like these isn’t important, just that Viñas hasn’t found a way to give this case or the general situation dramatic shape. We care about the situation as an abstraction, but nothing more. You can’t compel engagement simply by declaring importance.\u003c/p>\n\u003cp>\u003cem>Turning the Page\u003c/em> suffers a similar fate. Without doubting the tremendous hardships of Aiko Herziog-Yoshinaga’s life — one moment she was anticipating her senior prom and the next she was in an interment camp in Manzanar — Jeanne Sakata hasn’t found a way to give her life, her research, or her work as a political activist any sense of occasion.\u003c/p>\n\u003cfigure id=\"attachment_13826033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg\" alt=\"Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herziopg-Yoshinaga’s discovery of early drafts of internment policy, proving that there was never a military justification for the internment, is a significant achievement. It was one of the major factors that lead to an official U.S. apology and financial reparations for the injustices inflicted on the Japanese-American community. Yet, Sakata’s writing never rises above the facts of the matter, and so what should be revelatory comes off as a dry lecture, a reenactment of something we already know.\u003c/p>\n\u003cp>The two most successful plays of each program — Jeffrey Lo’s \u003cem>Seven Fingers\u003c/em> and James Tracy and Jon Tracy’s \u003cem>The Racket\u003c/em> — come to life in the vibrancy of their characters and a sense of the tremendous stakes they faced. In thinking of what TheatreFirst is trying to achieve with \u003cem>Between Us\u003c/em>, they’re interesting models for the future.\u003c/p>\n\u003cp>\u003cem>Seven Fingers\u003c/em> tells the story of Larry Itliong’s quest to organize Philippine farm workers, his conflicts with Cesar Chavez, and how he managed to convince Chavez and his own people to join forces. There’s no other way to say it: Lo’s Itliong is fun. Here is a man who revels in the minutiae of union politics and gets his kicks from maneuvering through them.\u003c/p>\n\u003cfigure id=\"attachment_13826040\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg\" alt=\"Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez.\" width=\"675\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-520x297.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike much of \u003cem>Between Us\u003c/em>, we’re in a complex world and under the guidance of a daffy and quite human guide who seems perpetually unperturbed (“I got the ability to make you think I’m pretty,” he says at one point). When Itliong finally achieves a deal with Chavez and they form the United Farm Workers of America, you’re caught in another person’s vision of the world — and that has a real weight to it.\u003c/p>\n\u003cp>One shared goal of political activism and the theater is the demand to feel the pain and triumph of others. When the goofy Itliong finally says in a moment of reflection, “We got tired. We got hungry. We got beaten. We got abused. But… We stayed brave. Five long years” — you pay attention to that five years, realize the immense struggle he’s been describing, and feel the sting of having to fight for so long for such basic rights. There’s nothing abstract about it, especially since over the course of 25 minutes Itliong has been entertaining and become something of a friend.\u003c/p>\n\u003cp>These are not successful evenings of theater overall, but I would hate for TheaterFirst to give up on the notion of trying something like this again — just with better scripts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Between Us’ runs through Saturday March 10 at the Live Oak Theater in Berkeley. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Seven one-act monologues of historical figures present a composite of those who got in the way. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>How could you have let that happen? How could you have watched? Why didn’t you intervene?\u003c/em>\u003c/p>\n\u003cp>These days, when complicity has become \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/27/566763885/complicit-is-the-word-of-the-year-in-2017-dictionary-com-says\" rel=\"noopener\" target=\"_blank\">such a potent, possibly criminal question\u003c/a> (in our government, businesses, and private lives), TheatreFirst’s two-program collection of seven one-act monologues, \u003cem>Between Us\u003c/em>, presents a group of men and women who got in the way. After witnessing the hardships they endure — psychological, familial, economic, and social — it’s hard to blame anyone who turns a blind eye and goes on their way.\u003c/p>\n\u003cp>It’s a fascinating experiment in social justice activism and art, made more so by the variety of people testifying. Two of the seven are everywoman composites, while the other five are or concern real people — renowned 19th century Voodoo priestess Marie Laveau; Philippine labor organizer Larry Itliong; a Uruguayan literature student Nibia Sabalsagaray; Aiko Herziog-Yoshinaga, an activist who uncovered crucial documents on the Japanese internment; and Major General Smedley Butler, who stymied a plot by American business interests to overthrow President Franklin Roosevelt.\u003c/p>\n\u003cfigure id=\"attachment_13826036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg\" alt=\"Voo Doo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LAVEAU-1024x678-e1519948958730-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Voodoo Priestess Marie Laveau (Dezi Solèy) conjures us some spells in the past and for our future present. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As information, both programs are terrific. You get a kind of running commentary on what it means to actually take a stand, to dedicate your life to not caving in under pressure. Unfortunately, as drama, five of the seven one-acts fail to come to theatrical life. The other two, though somewhat successful, are still shaky.\u003c/p>\n\u003cp>Playwrights such as Wallace Shawn (\u003cem>The Fever\u003c/em> and \u003cem>The Designated Mourner\u003c/em>) and Adrienne Kennedy (\u003cem>The Ohio St. Murders\u003c/em>) have used the one-person lecture format to devastating ends. Yet none of the plays of \u003cem>Between Us\u003c/em> have either the formal sophistication or the political and social vision necessary to testify against the world. Noelle Viñas’ \u003cem>La Profesora\u003c/em> and Jeanne Sakata’s \u003cem>Turning the Page\u003c/em> are prime examples of how difficult it is to dramatize what is essentially information.\u003c/p>\n\u003cfigure id=\"attachment_13826039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826039\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg\" alt=\"Tachi (Virginia Blanco) lectures the audience on South American geography.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/profesora-0053-1024x683-e1519949223386-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tachi (Virginia Blanco) lectures the audience on South American geography. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>La Profesora\u003c/em>, Tachi, a young teacher, is fired for a lesson she gives to her class on the Uruguayan government’s summary execution of a university student. As a fact, U.S.-backed 1970s South American death squads are a depressing commonplace. It’s hard to imagine in 2018 someone hired to bring a “South American perspective in a Literature of Human Rights class” and then fired for talking about such things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s possible, I guess, but the drama seems ginned up to give Nibia Sabalsagaray’s story greater contemporary relevance than it has. This is not to say that mining the history of cases like these isn’t important, just that Viñas hasn’t found a way to give this case or the general situation dramatic shape. We care about the situation as an abstraction, but nothing more. You can’t compel engagement simply by declaring importance.\u003c/p>\n\u003cp>\u003cem>Turning the Page\u003c/em> suffers a similar fate. Without doubting the tremendous hardships of Aiko Herziog-Yoshinaga’s life — one moment she was anticipating her senior prom and the next she was in an interment camp in Manzanar — Jeanne Sakata hasn’t found a way to give her life, her research, or her work as a political activist any sense of occasion.\u003c/p>\n\u003cfigure id=\"attachment_13826033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg\" alt=\"Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/turning-0342-1024x683-e1519947970901-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aiko Herzig-Yoshinaga (Heidi Kobra) makes a discovery that throws new light on the injustices of the Japanese internment. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herziopg-Yoshinaga’s discovery of early drafts of internment policy, proving that there was never a military justification for the internment, is a significant achievement. It was one of the major factors that lead to an official U.S. apology and financial reparations for the injustices inflicted on the Japanese-American community. Yet, Sakata’s writing never rises above the facts of the matter, and so what should be revelatory comes off as a dry lecture, a reenactment of something we already know.\u003c/p>\n\u003cp>The two most successful plays of each program — Jeffrey Lo’s \u003cem>Seven Fingers\u003c/em> and James Tracy and Jon Tracy’s \u003cem>The Racket\u003c/em> — come to life in the vibrancy of their characters and a sense of the tremendous stakes they faced. In thinking of what TheatreFirst is trying to achieve with \u003cem>Between Us\u003c/em>, they’re interesting models for the future.\u003c/p>\n\u003cp>\u003cem>Seven Fingers\u003c/em> tells the story of Larry Itliong’s quest to organize Philippine farm workers, his conflicts with Cesar Chavez, and how he managed to convince Chavez and his own people to join forces. There’s no other way to say it: Lo’s Itliong is fun. Here is a man who revels in the minutiae of union politics and gets his kicks from maneuvering through them.\u003c/p>\n\u003cfigure id=\"attachment_13826040\" class=\"wp-caption aligncenter\" style=\"max-width: 675px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826040\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg\" alt=\"Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez.\" width=\"675\" height=\"386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169.jpg 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/7FINGERS-678x1024-e1519949510169-520x297.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong explains the ins and outs of his union organizing with Cesar Chavez. \u003ccite>(Photo: Randy Wong-Westbrooke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike much of \u003cem>Between Us\u003c/em>, we’re in a complex world and under the guidance of a daffy and quite human guide who seems perpetually unperturbed (“I got the ability to make you think I’m pretty,” he says at one point). When Itliong finally achieves a deal with Chavez and they form the United Farm Workers of America, you’re caught in another person’s vision of the world — and that has a real weight to it.\u003c/p>\n\u003cp>One shared goal of political activism and the theater is the demand to feel the pain and triumph of others. When the goofy Itliong finally says in a moment of reflection, “We got tired. We got hungry. We got beaten. We got abused. But… We stayed brave. Five long years” — you pay attention to that five years, realize the immense struggle he’s been describing, and feel the sting of having to fight for so long for such basic rights. There’s nothing abstract about it, especially since over the course of 25 minutes Itliong has been entertaining and become something of a friend.\u003c/p>\n\u003cp>These are not successful evenings of theater overall, but I would hate for TheaterFirst to give up on the notion of trying something like this again — just with better scripts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Between Us’ runs through Saturday March 10 at the Live Oak Theater in Berkeley. For tickets and information \u003ca href=\"http://theatrefirst.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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